ABSTRACT
In addressing the question of how meaning is produced in popular music, a central role must be accorded to those who actually make the music. This is not, however, to simply accept the 'creative artist' view of the production of cultural products, which sees 'art' as the product of the creative individual, largely unencumbered by politics and economics. Those involved in making music clearly exercise varying degrees of personal autonomy, but this is always circumscribed by the available technologies and expertise, by economics, and by the expectations of their audience. Once again, it is a question of the dynamic interrelationship of the production context, the texts and their creators, and the audience for the music.
